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Two forward-thinking cuts, pressed loud and unapologetic, straight from the Bristol-based producer who knows exactly how to move a system.

“Paisley Breaks” is a break-driven speaker melter — restless drums, nuff low-end pressure, and just enough chaos to keep the dance on edge. Flip it over and “Sunday Monday”switches the mood: laid-back, hazy, and reflective, capturing that slow-burn feeling after a weekend that went a little too far (in the best way).

From the shadowy edges of Limbo into the basscomesaveme universe, this release balances raw energy with late-night introspection — made for sound systems, afterhours, and everything in between.

2026 Repress

This new EP on OCD is once again another project into which we’ve poured all our love and attention, carefully working with the artist to compile a release that would, at least in our vision, stand the test of time.

Our friend Harsh (Reformed Society) caught our attention through his outstanding double EP on Basic Moves. A subsequent, very synchronistic real-life encounter with him in Barcelona led to this EP, which pays homage to the early 2000s Progressive House era.

This era played an important role in our musical journey, as it did in Harsh’s own. Within this project, he fuses the influences of that time with his own refined taste, resulting in three tracks that could easily pass as unreleased material unearthed from old dusty DATs from that era.

Daskal debuts on DJ Tennis’s Life and Death label today with the release of “Changes,” the first single from his forthcoming album OD, out March 6. The release marks a defining moment for the producer and composer, whose work moves fluidly between contemporary dance, film, and electronic music, and represents his first full-length statement reconnecting his compositional practice with the dancefloor.

“Changes” arrives alongside a striking accompanying video directed by award-winning filmmaker Tamir Faingold, featuring dancers from the world-renowned Batsheva Dance Company. Rather than functioning as a traditional music video, the piece uses contemporary dance as its primary language, translating the emotional charge and magnetism of nightlife into movement. Together, the single and visual introduction frame OD as a bridge between club culture and the expressive traditions of modern dance and composition.

A classically trained composer with deep ties to the world of choreography, Daskal has spent recent years creating original scores for institutions including Los Angeles Dance Project and the Royal Danish Ballet, while simultaneously developing a parallel body of work across ambient and experimental electronic music. OD emerges as a convergence of those paths: a ten-track album shaped as much by physical movement and spatial awareness as by club tradition, positioning Daskal between concert hall, black box theater, and late-night club environments.

Recorded and mixed primarily using vintage hardware — including a rare 1980s German mixer in a high-end Tel Aviv jazz studio — OD reflects a deliberate shift away from purely atmospheric writing toward rhythm, repetition, and physicality, while retaining the precision and restraint of his compositional background.

Roman Khropko delivers four cuts balancing precision club mechanics with flashes of emotion. The record moves between stripped minimal techno and warmer electro, designed to unfold gradually.
The A side opens with Glimpse, a straight-forward roller driven by tight drums and a suspenseful build. Piece of Truth follows with a funkier swing, blending elastic basslines with subtle tech house inflections that keep things in motion.
On the B side, Fractum settles into a hypnotic minimal tech mood, laying steady groundwork for an extended club stretch. The closing track, Among The Machines, shifts into emotional electro territory, carrying melodic tension that leaves a melancholic aftertaste.
A concise and functional toolset for the dancefloor. This is one to stay in your bag for a long time.

MF Robots return with a euphoric blend of Afro-soul-funk, delivering a release brimming with optimism, tight vocals, and the inescapable grooves that have become their signature. This album is a celebration of life, love, and musical joy, radiating positivity from start to finish.


Co-founder Jan Kincaid describes the track Glide as “a celebration of the unfolding of a love story.” From its romantic, reflective instrumental introduction to the soulfully upbeat opening bars, the listener is immediately swept into a journey.

True to MF Robots’ style, the track is joyful and celebratory, yet it pushes further—exploring the path love takes over time, and how, when it works, we can glide through life’s challenges with the right person by our side.


The album’s vibe is exuberant and full of energy, paying homage to soulful greats while adding a modern twist. There’s a subtle nod to legends like Earth, Wind & Fire, but what truly shines through is the sense of fun—the feeling that MF Robots are having an absolute ball singing, playing, and creating music that moves both body and soul.

MF Robots return with a euphoric blend of Afro-soul-funk, delivering a release brimming with optimism, tight vocals, and the inescapable grooves that have become their signature. This album is a celebration of life, love, and musical joy, radiating positivity from start to finish.


Co-founder Jan Kincaid describes the track Glide as “a celebration of the unfolding of a love story.” From its romantic, reflective instrumental introduction to the soulfully upbeat opening bars, the listener is immediately swept into a journey.

True to MF Robots’ style, the track is joyful and celebratory, yet it pushes further—exploring the path love takes over time, and how, when it works, we can glide through life’s challenges with the right person by our side.


The album’s vibe is exuberant and full of energy, paying homage to soulful greats while adding a modern twist. There’s a subtle nod to legends like Earth, Wind & Fire, but what truly shines through is the sense of fun—the feeling that MF Robots are having an absolute ball singing, playing, and creating music that moves both body and soul.

If you could go back in time ten years, what would you want to tell yourself? This was a question Khruangbin posed to themselves when approaching the ten-year anniversary of their debut album, the once cult classic, now genre-defining work The Universe Smiles Upon You. “If we could go back and tell ourselves how much was going to happen to us after that record, what would we want to
celebrate?” asked Laura Lee, bassist, vocalist, and founding member of the band. Instead, they thought: “Let’s do it again.”
The Universe Smiles Upon You ii was recorded on January 4-6, 2025, in the same family barn of guitarist Mark Speer, across the
same dates where TUSUY was first conceived ten years earlier. Though the conditions were the same–dirt floor, brutally cold,
minimal sound isolation, all takes live–the songs aren’t. They’re re-approached, some changed more than others, harnessing the lightning-in-a-bottle energy of TUSUY while discovering what would be unique this time around, in this stage of the band’s life.
The result moves like ripples on the water across ten hypnotizing tracks, the barn creating a sense of spaciousness, serenity and creative freedom, nearby wildlife (listen out for the birds on “August Twelve ii”), rattles and creaks of the barn and all. It’s a tapestry of small movements in nuanced arrangements, slowly revealing the new life, stories and character of someone you’ve met again for the first time in ten years.

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we’ve uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack la- bels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre’s frayed edge. Get lost in ecstatic choir funk, pulpit rappin’, direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.

Mononoke is a Berlin band founded by Fabian Rösch and Benjamin Geyer. Their musical passion is improvisation with a sound that moves between experimental electronic music, jazz, beat music and ambient.
This LP combines their two recent EPs which have been released on the Munich based label tunnel.visions,
each on one side.

APARt
APARt was created in the field of tension between spontaneous improvisation and careful studio work, marked
by the lockdowns during covid and social isolation. It was precisely this physical separation that gave rise to a
new experimental approach.
Each track is a puzzle, whose individual pieces were put together, moved around, and placed in new contexts.
Instead of jamming and rehearsing together, musical ideas were exchanged online so that they could be freely
interpreted, altered and redesigned.


modular
Newly found vivid playfulness, fresh approaches and a tilt towards the unexpected marks these songs. Capturing moments in our lives full of challenges, developments and salvation.
The same new and unusual process of working separately, shaped the subsequent second EP modular which
followed the same working structure but with a new component: the modular synthesizer, which decisively reshapes the sound: a collection of analog textures, broken structures and a touch of raw intimacy.
Each song is an episode, each sound a reminder of how music connects us.?
Even when circumstances, such as a pandemic, can threaten to pull us apart.

Comic Sans are back! The San Sebastián Midwest Emo quartet has finished their second album, "Todas las cosas que nos salieron mal", following" Éramos felices y no lo sabíamos" and the EP "Ojalá fuera mi cumpleaños". However, "Todas las cosas que nos salieron mal" and its opening single mark an evolution within Comic Sans"s perfectly recognizable style. Without abandoning the parameters of midwest emo, the San Sebastián band wants to reach a wider audience and sound more like themselves than their influences. They have matured, and it shows in deeper lyrics, while still remaining honest and direct, and in a more personal choice of structures, effects, and melodies. Everything"s more indie, really; understanding indie no longer as a genre (which it never was) or a classification related to the size of a band"s distribution channels, whether more mainstream or more underground, but as the desire to move away from the conventions of the style in which they emerged and took their first steps in order to develop something genuinely their own.

A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era.

A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era.

For more than three decades, Converge have delivered musical and emotional catharsis, putting purpose before perception and intent before interpretation. Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration with Chelsea Wolfe, they have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination. It seems unlikely that anyone who has been making music for this long would create one of their best works for their eleventh album, in their 35th year as a band. And yet: Love is Not Enough might be the apotheosis of Converge’s decades-long journey through the punk, hardcore and metal microcosm. What vocalist/lyricist Jacob Bannon, guitarist/producer Kurt Ballou, bassist/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge. There isn’t an ounce of fat. Every song moves with a power and purpose that eclipses their human origins, that speaks to the anger, pain, and frustration of the modern age.

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

For here lies one of the most influential bands in the realm of gothic metal, a group with doom and death metal roots that has flourished for over three decades, boasting thirteen albums that have garnered devoted acclaim. This injustice is now being set right by The Circle Music , beginning with the vinyl release of the classic album "Burning: A Wish", which emerged twenty-four years ago. "Burning: A Wish", released in the twilight of the year 2001, stands as a dark reliquary of dreams lost to the velvet fog of melancholy. To revisit it now, two dozen years later, is to unseal a time capsule of gothic ache, doom- laced longing, and the tormented tenderness that only Lacrimas Profundere could conjure at their creative height. It was a candle-lit corridor between worlds. A slow fall into velvet shadows. A scream muffled by rain.

By the time "Burning: A Wish" was released, Lacrimas Profundere had already begun to evolve from their early death- doom origins, shaping their identity with the sophistication of seasoned mourners. The death growls had receded, replaced by the haunted, baritone croon of Christopher Schmid, whose voice is an echo from a chapel ruined by time. Yet, while the growls faded, the emotional gravitas remained intact, transmuted into melody, into baroque gloom, into something more sorrowfully refined. Produced with lush, theatrical clarity, the album never drowns in its own atmosphere, it breathes with it, moves with it. The soundscape is dominated by somber guitar textures, languid tempos, and subtle orchestral touches. From the very first notes, it is clear that this is music for ruined lovers and moon-drenched graveyards.

This is the hallmark of Lacrimas Profundere 's style: an emotional minimalism that does not explain or elaborate, but merely opens wounds and lets them breathe. That this album has remained, until now, absent from the warm embrace of vinyl is both tragic and oddly poetic. For what format better suits a record such as this than the one that cracks and hisses like an old seance? Vinyl is tactile, intimate. It requires attention, reverence. To place Burning: A Wish on a turntable is to light a candle in the dark.

Far from being a nostalgic exercise, the record reasserts their daring artistry, merging legacy and rebirth. Known for melodic minimalism, elegant melancholy, and pulsing electronics, the band has often been compared to Depeche Mode, New Order, or Joy Division, yet their singular identity has always set them apart. On this new album, they reinvent their sonic language, blending vintage synths with classical textures and luminous modern production. The result is a sensory journey where light and shadow converse, where poetry meets pulse, reaffirming their timeless relevance. Their influence extends across genres: sampled by Madlib, reinterpreted by Tricky, reimagined by Theophilus London, and remixed by DJs such as Marcel Dettmann. Tributes, reissues, and appearances in cinema and fashion underscore their resonance, from Lucie Borleteau's Chanson Douce movie to catwalks by Chloe.

Born in Marseille in the early 1980s and led by Alain Seghir alongside Catherine Loy , Brigitte Balian , and Beverley Jane Crew , Martin Dupont left a mythic legacy with tracks like ' Inside Ou't and 'Just Because...' before dissolving in 1987. Rediscovered through Minimal Wave reissues, their music captivated a new generation of underground and electronic enthusiasts. Today, Martin Dupont are reborn. Seghir and Crew, joined by Sandy Casado, Thierry Sintoni, and Olivier Leroy, embark on a world tour that affirms their unique ability to move and inspire. You Smile When It Hurts proves that their visionary sound has never been more alive

Classy dub techno EP with oldschool attitude, groovy energy and powerful modern elements.

Mastering & lacquer cut by Kassian Troyer at Dubplates & Mastering Berlin

The Reflex returns in unstoppable form with 'Whatson Ur Mind', the long-awaited vinyl drop after racking up over a million YouTube views. The A-side delivers pure feel-good heat by updating a disco-yacht rock gem into a modern dancefloor weapon with a carefree feel and loved-up sense of romance washing over the nodding bass. Meanwhile, the B-side flips into a soulful, synth-driven slow burner that channels deep funk and libidinousness. Already championed by Gilles Peterson and Ross Allen, this one's built for selectors who know their groove and dancers who like to move.

BBMXI!! What a ride. Eden is back with another (un)holy 4 Track Ep.
You can not stop the Big Beat Manifesto, it is here to capture dancefloors across the globe, gaining
new followers by the minute.
Give in to it, surrender to the beat & move your feet. Bless you in the morning. Peace and unity.

"The Outfit release career defining new album, Preservers of the Pearl, asserting themselves as messengers of the new wave of underground rock and roll, pushing the movement forward alongside fellow trailblazers Mystery Lights, Sheer Mag, Shadow Show, Uni Boys + more.

Everything has been leading here. Daniel Romano shifts from his position as sole writer, opening the floor to Outfit stalwarts Ian Romano and Carson McHone, and welcoming into the fold longtime friend and legendary Canadian rock-n-roller, Tommy Major. The band is functioning as a true collective — multiple voices and perspectives — all serving one creative pulse. The result is both a new beginning and a homecoming, a complete and fearless statement.

Tracked to tape at their own Camera Varda studio, the album captures the band live in the room — breathing, musing, and believing. It’s the sound of human hands and hearts at work, in a shared moment of co-creation, preserved in real time in stunning hi-fi.

Here is music as communion — rock n roll as experience. Preservers of the Pearl rejects the flattening forces in modern times — what the band calls “the mono-agriculture of the mind.” In a “target culture”, condemned to homogeny and banality, The Outfit refuse polish and uniformity, embracing imperfection as truth, and promoting curiosity through creativity. At the center of it all is a deep spiritual current — what The Outfit calls Rock & Roll Magick: the belief that music is a sacred act, a force that can reconnect the individual to what is larger.

The Outfit are making music that is purposeful and profoundly urgent. Preservers of the Pearl is an invocation - it’s fearless in a time of great compromise, and resolute in an age of peripheral bullshit. Here is a band serving something greater than themselves."

"The Outfit release career defining new album, Preservers of the Pearl, asserting themselves as messengers of the new wave of underground rock and roll, pushing the movement forward alongside fellow trailblazers Mystery Lights, Sheer Mag, Shadow Show, Uni Boys + more.

Everything has been leading here. Daniel Romano shifts from his position as sole writer, opening the floor to Outfit stalwarts Ian Romano and Carson McHone, and welcoming into the fold longtime friend and legendary Canadian rock-n-roller, Tommy Major. The band is functioning as a true collective — multiple voices and perspectives — all serving one creative pulse. The result is both a new beginning and a homecoming, a complete and fearless statement.

Tracked to tape at their own Camera Varda studio, the album captures the band live in the room — breathing, musing, and believing. It’s the sound of human hands and hearts at work, in a shared moment of co-creation, preserved in real time in stunning hi-fi.

Here is music as communion — rock n roll as experience. Preservers of the Pearl rejects the flattening forces in modern times — what the band calls “the mono-agriculture of the mind.” In a “target culture”, condemned to homogeny and banality, The Outfit refuse polish and uniformity, embracing imperfection as truth, and promoting curiosity through creativity. At the center of it all is a deep spiritual current — what The Outfit calls Rock & Roll Magick: the belief that music is a sacred act, a force that can reconnect the individual to what is larger.

The Outfit are making music that is purposeful and profoundly urgent. Preservers of the Pearl is an invocation - it’s fearless in a time of great compromise, and resolute in an age of peripheral bullshit. Here is a band serving something greater than themselves."

B. Chamber (Stratum A), by B. Close, is the first full length solo release by Los Angeles-based multi-disciplinary artist Brian Close. The first of two volumes assembled from some thirteen hours of music produced by Close while residing in Connecticut from 2021-2025, B. Chamber (Stratum A) offers a vivid, fractal afterimage of a prolific, specific time and space in the artist’s oeuvre.

After leaving New York City early in the pandemic to a farmhouse in the countryside with dedicated spaces for multiple sound stations, Close developed an intensive daily practice of melding with the machines. The vast, pastoral backdrop of rural CT provided inspiration and contrast for his ongoing investigations into dynamic, poly-rhythmic electronic music. The sounds on B. Chamber (Stratum A) range from the machine-modeling of acoustic instruments and natural environments to the utterly unhuman, spinning on the axis between crystalline, pointillist precision and shifty blown-cone distortion. Close’s atypical interpretations of rhythm, noise and other undefined musics land in a hybrid zone of their own.

Throughout B. Chamber (Stratum A), Close’s productions are in perpetual motion. Foxtrot’s shifting hi-hats and disembodied voices rise like cicadas propelled by glitching machines and tangled rhythms, Many Drive draws momentum from dubby stabs and twinkling atmospherics. Character Community’s nimble, drifting snares and erratic static are uplifted by swelling synths, and Mpan’s modular mining forgoes drums but is no less propulsive for it. Acre Voices’ seasick pads and deft drum patterns tap an energizing nerve, and closer 5D Bow’s ambush of pummeling machine gun fire spirals into the tryptamine palace and emerges completely rinsed and refreshed.

Equally powerful in the club as in the outdoors, in the headphones eyes closed or on the move, B. Chamber (Stratum A) grants an immersive temporary trip on B. Close’s unique wavelength, with Stratum B to complete the picture in the summer of 2026.

RIYL - Mark Fell, muay thai, Vladislav Delay, gaming, Errorsmith, modular synthesizer.

+++++

Brian Close (b. 1979, NYC) uses the cold logic of mathematics to trigger states of total sensory displacement. Close co-founded multiple AV studios to explore the "hypnotic"—a ritualistic practice of motional-graphism and improvisational sound. His work is a study in synesthesia and the architecture of trance, using geometric precision to dissolve the sense of time. It is a digital-visceral experience built on heavy logic, designed for large-scale immersion and timelessness.

Close is one half of Georgia who have released records on Palto Flats, Firecracker Recordings, Meakusma, Youth, OOH-Sounds and EM Records, and have a long-running residency on NTS.

B. Chamber was written, produced and mixed by Brian Close.
Mastered by Rashad Becker.
Artwork by Brian Close.

Galcher Lustwerk is a Cleveland-born, New York-based producer who has become one of the underground's most respected and unique voices. His deep tracks fuse hypnotic grooves with subtle, late-80s hip-house–inspired vocals, creating a detached yet energising take on the famous Midwest style. He's a member of the White Material collective, first gained attention with the 100% Galcher podcast mix, and has since dropped many choice Eps on the best labels in the scene, including Ghostly International, all of which have cemented his reputation as a visionary.

Shorty Out' is a dreamy late-night sound with spoken words pulling you in as balmy pads swirl without purpose, but plenty of sass. The drums are understated but poignant, inviting you to sink into the vibe and give yourself over to Reflection.

'Vestibule' is another smoky, candle-lit sound, with hunched, dusty drums that make you move without ever being the focal point. More vocal musings bring tender feels and evocative imagery as the synths speak of cosmic escape.

Closer, 'Wet Bulb' is more club-ready with techno-leaning synths and mid-tempo but purposeful drums.

Analogue textures and heady, wispy synths add plenty of human soul, making this another considered cut.

ZHERAV unleashes hypnotic Middle Eastern grooves on NAJA / BAZAAR 45 for Batov’s highly collectable 45 series.

New Zealand-based producer ZHERAV announces his debut release, NAJA / BAZAAR, a double single and 45 on Batov’s Middle Eastern Grooves series. The record fuses psychedelic rock, hypnotic rhythms, and electronic production influences, creating a sound that moves between swung grooves and cinematic, reverb-soaked textures.

ZHERAV draws from his background in house and techno, layering live guitar, bass, and synths over programmed drums. “I had a production template for house music on Ableton” he explains, “and I thought about how to switch to this Middle Eastern sound using the same format”. Most of ZHERAV’s tracks developed through improvisation - starting with programmed drums, then experimenting around scales on instruments until something works. ZHERAV has already received support from independent radio in Australia and New Zealand, and encouragement from international artists like Ko Shin Moon.

Both tracks explore Middle Eastern scales, bringing a distinct flavour to the grooves, while maintaining ZHERAV’s signature hypnotic layered sound. ZHERAV had something in mind related to snakes and their charmers when creating the A-side, NAJA (“Indian Cobra”). An ominous bassline loops repeatedly over snapping drums and percussion, whilst ZHERAV improvises guitar riffs and effects over the top.

Step into the wild heart of New York"s underground avant-garde jazz scene with Voyage from Jericho. Recorded in 1974, release in 1975, this landmark session finds the Charles Tyler Ensemble pushing boundaries with fearless improvisation, deep spiritual yearning, and a raw emotional fire. Joined by top-tier collaborators - including Arthur Blythe, Earl Cross, Ronnie Boykins, and Steve Reid - Tyler shapes a sound that fuses avant-garde intensity with soulful depth, creating a powerful celebration of freedom and expression. This is music that demands attention and rewards deep listening. Whether you"re a devoted explorer of the avant-garde or a curious listener seeking something beyond the mainstream, Voyage from Jericho offers a journey both challenging and transcendent. In short: if you"re ready to move past comfort zones and into the outer reaches of jazz, Voyage from Jericho is a voyage worth taking.

"¡Qué ardiente!" combines the best of Los Roger's limited discography, one of the most influential Amazonian cumbia bands from Iquitos, Peru.Their discography dives deep into Cuban-influenced sounds, where the guitar shares the spotlight with powerful percussion and-with tracks like 'Descarga Roger's'-with the vocals as well. A thorough look into one of the most essential Psychedelic cumbia bands in Peru. Iquitos, one of Peru's most remote cities and the capital of its Amazon region, was the epicenter of the psychedelic cumbia movement. Countless bands emerged from this place, each with a different fate in their musical journeys. Some rose to become international stars and flag bearers of cumbia, while others remained local legends, their fame never traveling far beyond the Amazon jungle. Los Roger's achieved great success in Iquitos and served as the foundation and inspiration for many local bands that emerged in the late 1960s and early 1970s. "¡Qué ardiente!" combines the best of the band's limited discography. The recordings come from their first 45 RPM single and their two mini Long Plays for the FTA label, as well as their only elusive LP from 1971, "¡Qué ardiente!", ("How Burning!") recorded for the prestigious IEMPSA label. Los Roger's came to an abrupt end just one year after the release of their LP, at the peak of their career, due to their disappointments with the music industry.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

New from Modern Love; diamond-cut club fancies x tripped-out energies from a longtime pal of the label, oiling the wheels before a full album drops later this year.

»Nothing But Fixes« spans the A like some lost Gerald white label; 12 minutes of expressive, golden era romance spiked with absolute delirium on the drums. On the flip, Carinho loosens the hips with the kinky swivel of his Lisbon locale, Dojo lifts a half-step fidget, and Echochrome cuts thru liquid Eski, spiked with expressive trills. For dancers and DJs; myriad geometries for movement inside.

In the ever-evolving yet foundational landscape of instrumental groove music, F-Spot Records is proud to debut "Monkey Part 2 b/w Lully" from up-and-coming, multi-faceted keyboardist and composer Max Naseck. Raised in Dallas, Texas, but having worked throughout the Los Angeles music scene for almost a decade, Max Naseck, joined by guitarist Brandon Bae and drummer Julian Allen, brings his new trio project to life. After chasing this sound and style of playing for several years, Appropriately given the name "The Left Hand of God" by some of his musical peers, Max takes the classic soul jazz trio setting of holding down both the bass and melody elements and moves them to a unique combination of funky Moog synth (Key bass) and a Wurlitzer 200A electric piano. This 45 provides a fresh yet retro sound that is sure to leave listeners grooving and locked in.
From the first notes and tight 4-on-the-floor rhythm, "Monkey Part 2" kicks off the A-side with a unique psychedelic blend of soul, funk, and a touch of disco. With Allen's groovy touch, Naseck perfectly locks in with his left hand, followed by Bae's precision-picked electric guitar, which completes the trio's solid groove, further propelled by Naseck's right hand taking the melodic lead. Then on side B, "Lully" brings the tempo down to a more soulful, atmospheric blend that's equal parts Khruangbin & modern jazz pioneers, a la John Scofield. Recorded live together in one room, Max brings his strong compositional style to the table, showcasing how three musicians can interact in a playful, melodic, and groove-focused way.

Death Is Not The End present a compilation gathering a cross-section of early gospel choirs and vocal harmony groups recorded between late 1920s and the mid-1950s - a period when spirituals & jubilee traditions merged with blues, jazz and early rhythm and blues, providing the musical routes for the coalescence of the civil rights movement born out of the black church. In the modern world these perennially vital recordings provide a fitting tonic for the near-dystopia we find ourselves living through.

HATIHATI - a new signing to DEEWEE, the record label founded by David & Stephen Dewaele of Soulwax/2manydjs.

Picture a burning car at the roadside in southern Crete, speakers held together with tape, playing records that survived sun, dust, and metallic sunrises, loud enough to make mountains sweat and clouds blush in hyper hue. HATIHATI lives somewhere between fragmented muscle memory and long walks through the Cretan mountains. The project formed on the move: buses, ferries, borrowed rooms, missed connections. Music made with travel still in the body. This is HATIHATI.

MonsieurWilly – “Stomp” (Nu-Disco Remake of The Brothers Johnson) – 7" Vinyl Single Get ready to move your feet: MonsieurWilly revitalizes the timeless funk anthem “Stomp” by The Brothers Johnson with an electrifying Nu-Disco makeover. Pressed on a high-quality 45 RPM 7" vinyl, this remake blends vintage groove with modern dancefloor energy, delivering an irresistible combination for DJs, collectors, and funk-disco lovers alike.

MonsieurWilly’s production pays homage to the original’s infectious basslines and uplifting spirit while injecting fresh synth textures, crisp beats, and a stylish contemporary polish. The result is a vibrant re-imagining that feels both nostalgic and brand new— perfect for setting the tone at any party or adding standout flair to your vinyl collection. This is another special and exclusive 45/7“ release via Soulkitchen Distribution…

Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.

The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.

"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.

Audial is a party in Leeds that has made great moves in recent times and has become an essential night out for those who like heady underground sounds. It now takes the natural next step by branching out with a new label and a fresh VA to kick it off. City mainstay Keefy G serves up the first cut 'After Diz' - a raw, gritty garage house slammer with naughty bass. Joejoemojo's 'Moneymaker' spins out on dusty breaks and warped low ends that bring the filth and on the flip Kerouac drops the late night and eerie tech of 'Broken' with bleepy synths and sultry spoken words. Geeson3003 shuts down with a rework of a Streets classic that hits hard with a UKG twist.

JNJS are Jay Nortown and Jacobo Saavedra, Ibiza residents and a dynamic duo who have made moves on the likes of Dias De Campo, Nothing But and UVAR. This time out they land on the influential Politics Of Dancing with three crisp, twisted takes on tech house. 'Between Us Two' is an easy to latch onto groove with fleshy bass and lithe chords darting about up top. 'Infection' has a swirling and rapping lead that brings more off-balance movement and 'Go Back' shuts down with some psychedelic leads smudged and smeared across the sky as the fulsome drums work down low. A Terence :Terry: remix brings bigger drums and more swag to this effective EP.

Nach Stereolabs letztem Studioalbum "Instant Holograms On Metal Film" und der Single "Fed Up With Your Job / Constant And Uniform Movement Unknown" meldet sich die Band mit "Cloud Land / Flashes In The Afternoon" zurück. Beide Songs erscheinen erstmals auf 7" Vinyl und digital. Die limitierte 7" im bedruckten Farbcover wurde bislang exklusiv auf ihren Konzerten 2025 angeboten und wird jetzt in kleiner Auflage für den Indiehandel erhältlich.

– "Nach 15 Jahren feiern die Retro-Futuristen ein strahlendes Comeback." – The Guardian

Relive the legend of Ys I and Ys II with this sublime symphonic version on vinyl!


The epic arrangements by Kentarô Haneda (known for his compositions on Space Adventure Cobra and Sherlock Hound) reveal the full splendour of the original melodies and pay tribute to the two legendary titles from Nihon Falcom.



The four movements are performed by the King Symphonic Orchestra.



Discover this symphonic suite in a beautiful gold vinyl edition!